Paul's Bio
The history of Paul goes like this -
He started learning to play piano as a child (achieving distinction grade) and also became a soprano soloist for the Scottish National Orchestra Choir. He was also a recorder/ flute player, with general interests in electronic and orchestral music, and can turn his hands to percussion, as well as bass and guitar. He went onto making music with computers and became known as an international programmer, keyboardist, and vocalist and musical director through his live performances at major venues in the UK including Wembley, Birmingham NEC, Edinburgh Playhouse, as well as performing to thousands of people in many other countries across the rest of the world.
Paul has developed his career further by using his own determination and understanding of the physical aspects of many instruments, and what sounds can be achieved by experimenting and using the imagination. His vocal techniques are also something he has developed over the years, to use as an instrument as well as a lead voice. His melodies, harmonies, chord progressions, and dynamics are something he is gifted with.
Paul got a break into television after one of his co-written tracks was used for many different commercials and television programmes including Top Gear Motor Sport about 15 years ago. He then went onto writing television theme tunes for award shows, including the B.A.F.T.A. Awards, and a daily news programmes, Grampian News, and North Tonight. And from there he started working on film projects, including shorts, Nat Geo wildlife, and other factual documentaries. He's been working on television's longest running crime series, Taggart, since 2004, as well as making production music for EMI Music, Zomba Music’s Chappell Music and Bruton Music, and Zone's Juice Music, which is all available for licensing across the world...
Paul adds:-
"For years I never questioned why or how I came up with music, and, to be frank, with exception to my tuition with the SNO and piano and recorder lessons I had as a child, I'm mostly self taught. The rest of my understanding of music has been through self discipline and many years of honing my skills and experimenting. I've been given a chance to make music in life. I feel grateful for this wonderful opportunity and I love being able to share it with people. I maintain an open-minded approach to making music, and, I will always ensure the director / producer(s) are happy with the music I deliver at the end of the day. - I've never missed a deadline in my career!
As well as my piano, I use lots of other instruments, and instrument samples in my productions. I use fast PC's with Dual QUAD Core technology - I've 4 PC's plus a laptop, networked together. I've orchestral libraries from VSL Pro and EWQLSO Platinum Pro, to name just two big titles that I have in my library. I also use allot of other software that helps me achieve my targets.
When I start each project, I usually hear something in my head, and I begin playing a few notes and let my subconscious mind lead me - I don't question it - I've learned not too - because its possible to loose focus. An advantage I have is the ability to compose and record in front of others. I think working with so many singers and bands, in so many studios over the years, has broken down that barrier, thankfully. Nowadays, it applies to mostly directors that review my music, and I'll quite often put the basic changes in while the director is sitting next to me, and work on it further, after they've gone.
The process for composing to film is different to producing for an album. The general principals are the same; after each take I choose the best, discard the rest, and from there I use the notes and sounds that interest me most, to highlight effective harmonies that are emotive, dynamic, create the right atmosphere, and strike the right chord at the right moment. And the word 'moment' plays a crucial role in being able to compose to film, because I've found from experience that a fraction of a second can (and does), make all the difference. And this is a different part of the brain that needs to be switched on. It is also important to know when a piece of music should naturally change. There's definitely a 'sweet spot'. And different types of music do really require the skill of knowing when to 'change' to a different note, or chord, or even style. And for film, you have the added challenge of fitting your theme / melody into a scene before the film changes direction, and the transitions have to feel, and sound, seamless."
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Paul spends many hours every day (through a labour of love) to achieve his goals at his home studio in Glasgow, Scotland, United Kingdom.
Paul Stirling Taylor
"Always feed and water your director – on both a literal and lateral level"
